Elisha Refusing Naaman’s Gifts by Lambert Jacobsz, 2 Kings 5, Bible.Gallery
Artwork Description
Lambert Jacobsz’s Elisha Refusing Naaman’s Gifts* depicts a moment from the Old Testament story of Naaman, the esteemed Syrian army commander, and the prophet Elisha, who cures him of leprosy. In gratitude, Naaman approaches Elisha wearing a richly adorned turban and turquoise kaftan, offering lavish gifts—including a purple cloak. But Elisha, his hand resting on an open Bible, declines the offerings, insisting that it was God, not he, who performed the healing (2 Kings 5:1–16).
Jacobsz renders the scene with restraint. Naaman is centrally placed and slightly larger in scale, dressed in brilliant colors that underscore his status. Elisha, by contrast, appears as a modest, aging figure in a simple brown robe. Jacobsz focuses on their facial expressions—particularly Naaman’s, capturing his moment of reflection as he begins to understand that “there is no God in all the world except in Israel.”
Among the onlookers are Naaman’s attendants and Elisha’s servant, Gehazi, seen at the far right. As the biblical story continues, Gehazi secretly follows Naaman after his departure and deceitfully accepts the gifts intended for Elisha. When Elisha learns of the deception, Gehazi is punished with the same disease that Naaman had been cured of (2 Kings 5:17–27).
This subject was rarely painted by Dutch artists in the 17th century, though Jacobsz’s teacher, Jan Pynas, and his contemporary Pieter de Grebber created similar scenes. De Grebber’s 1637 version, made for the Haarlem Leprozenhuis* (Leper Asylum), shares compositional elements with Jacobsz’s work, such as the half-length, richly dressed figures, though the two differ significantly in tone and interpretation.
Jacobsz himself returned to the Naaman narrative at least six times during the late 1620s and 1630s, painting both small- and large-figure versions. An earlier composition, known only from a black-and-white photo, closely mirrors Elisha Refusing Naaman’s Gifts* in key aspects, such as the prophet’s gesture and Gehazi’s placement. However, the earlier work depicts a moment just before the one in the Leiden Collection painting and lacks its spiritual depth.
While Jacobsz often produced small-figure history scenes throughout his career, his large-figure works—including Elisha Refusing Naaman’s Gifts*—were created during a brief period when Jacob Backer, his main assistant, worked in his Leeuwarden studio (c. 1628–1633). Both artists were Mennonites and had trained with Jan Pynas. Their collaboration was so close that their paintings from this period are often difficult to distinguish. For example, The Tribute Money* in Stockholm, once attributed to Jacobsz, is now considered a work by Backer.
Jacobsz painted Elisha Refusing Naaman’s Gifts* during this collaborative period, along with two other large-figure depictions of Elisha Rebuking Gehazi* (now in Kingston and Hannover), where the prophet is shown reprimanding his servant. In all three paintings, Jacobsz emphasizes the moral and spiritual weight of the moment over dramatic action.
The painting was initially attributed to Pieter de Grebber when it surfaced in 2005, but Albert Blankert later reassigned it to Jacobsz, noting similarities in style and composition with authenticated works like The Disobedient Prophet* (Stockholm). The frontal pairing of Elisha and Naaman in the Leiden Collection painting closely parallels Jacobsz’s treatment of Elisha and Gehazi in the Hannover canvas.
The original patron of the painting remains unknown. While it may have been created for an institution like the Leprozenhuis* in Leeuwarden—similar to commissions by De Grebber and Ferdinand Bol—it seems unlikely, as the painting emphasizes Naaman’s spiritual conversion rather than his physical healing or Elisha’s refusal of reward.
This focus aligns with Jacobsz’s own Mennonite beliefs. As a devout teacher and biblical scholar, Jacobsz viewed faith as a personal, conscious decision. His portrayal of Naaman’s conversion echoes the Mennonite conviction that one becomes a believer through understanding and acceptance, not birthright. In Elisha Refusing Naaman’s Gifts*, Jacobsz merges artistry and theology, presenting a visually restrained yet spiritually powerful narrative of transformation.